
PREVIEW: Focus 2013 and Dance Gotham
To kick off 2013, New York City will once again turn its full attention to the performing arts. The annual Association of Performing Arts Presenters conference joins hundreds of performing artists with presenters from all over the world in hopes of forging connections and fostering plans for future engagements. It’s…

GIVEAWAY: Classtivity “Passport” for the New Year!
Editor’s Note: We are thrilled to announce that Lindsay is the winner of the Classtivity Passport! Thank you all for your involvement! In honor of the new year, DancePulp and Classtivity are partnering to giveaway The Classtivity Passport to one loyal DancePulp follower! The Classtivity Passport is a 30-day, 10-class…

REVIEW: Monique Jenkinson’s “Instrument” at CounterPULSE San Francisco
In the unassuming space of CounterPULSE’s black box-esque theater, Monique Jenkinson’s new solo work, “Instrument,” spoke clearly and intimately to the audience. The work is not long, an hour and twenty minutes, but it does not drag on nor race by. It is a series of different episodes, each one…

REVIEW: Kidd Pivot’s “The Tempest Replica” at the Joyce Theater
Rock-star choreographer. Shakespeare. Cool, full-body costumes that turn top-notch dancers into chalk-white mannequins. On the surface, Kidd Pivot’s “Tempest Replica,” which ran at the Joyce last week, was replete with intriguing ingredients. Unfortunately, however, they didn’t combine as successfully as promised. True to its name, “Tempest Replica” distills the Bard’s…

REVIEW: Morphoses “WITHIN” at the Joyce Theater
Having seen Pontus Lidberg’s dance film Labyrinth Within when it premiered two years ago, I really didn’t know what to expect with WITHIN — a new creation by Lidberg and Morphoses that embeds the 28-minute short in an hour-long creation of film and live dance. After all, just the medium…

REVIEW: Aurélien Bory’s “Sans Objet” at BAM
Aurélien Bory’s “Sans Objet,” which premiered tonight at BAM, is built around a robot. But when you initially picture a little talking box that is somewhere between R2D2 and Wall-E, it is a great underestimation. This creation was originally developed by the auto industry in 1970. It is doubtful that…

REVIEW: RAWdance’s “RE:FRAMED” at ODC San Francisco
Editor’s note: DancePulp would like to welcome Lucy Wild from San Francisco to our Guest Contributors. We are thrilled to see DancePulp moving west! On opening night of their Fall Season at San Francisco’s ODC, RAWdance presented RE:FRAMED, an evening of four contemporary dance works. The thread connecting these four…

REVIEW: Ballet Next at the Joyce Theater
Ballet Next opened its season at the Joyce Theater Tuesday with Alison Cook Beatty’s premier of “Tinntinnabuli.” Set to Arvo Part’s “Tabula Rasa”. The piece begins on a solemn note. The audience is peering in on a dark and fearful hour. Michele Wiles prays desperately into a beam of light…

REVIEW: Hofesh Shechter’s ‘Political Mother’ at BAM
It is rare that a viewer can describe a dance performance as a full-bodied experience, but that is exactly what occurred for those seated in the Brooklyn Academy of Music’s Howard Gilman Opera House, during Hofesh Shechter’s Political Mother. Israeli born, British based musician turned choreographer, Hofesh Shechter, engulfs viewers with…

REVIEW: Fall For Dance Festival 2012 at New York City Center: Program 5
Program 5 Shen Wei Dance Arts Laboratory Dance Projects CIRCA María Pagés The Fall for Dance Festival always seems to offer a healthy smorgasbord of dance treats. Program 5 of the festival offered the usual variety from intellectually stimulating work to compromised artistry. To open the evening, Shen Wei Dance…